Sugar Mountain: Live at Canterbury House 1968 the third installment from Neil Young's Archives although through some weird filing system this is Vol. 00, possibly because this dates before either of the previously released volumes in Archives Performance Series culls highlights from Neil Young's two shows at Canterbury House in Ann Arbor, MI on November 9 and 10, 1968. Like its two predecessors in the Archives series, the concerts captured on Sugar Mountain are legendary among Neil Young collectors, in this case because of the gentle, tentative version of the title track that showed up on Decade prior to this, the only official release from the concert.

"Decade" is a compilation by Neil Young, originally released in 1977 as a triple album. Decade was supposed to have been released in '76 but had been delayed. When it was finally released in late '77 I rushed to buy it and it was filled with great stuff for fans. Covering the years between 1966-1976, "Decade" is a solid overview that shows off the many sides of the always iconoclastic Neil Young. Starting with Young's work in Buffalo Springfield, some of the nuggets include the psychedelic calliope that is "Down To The Wire" and the fuzz guitar/Motown-inspired "Mr. Soul". Throughout these ten years of recordings, Young constantly dug deep, touching on controversial topics be it his CSN&Y masterpiece about the student massacre at Kent State ("Ohio"), compositions dealing with the ups and downs of the drug culture ("Needle And The Damage Done", "Tonight's The Night") or history's dark chapters of racial injustice ("Cortez The Killer", "Southern Man").

Given the quirkiness of Neil Young's recording career, with its frequent cancellations of releases and last-minute rearrangements of material, it is a relief to report that this two-disc compilation is so conventional and so satisfying. A 35-track selection of the best of Young's work between 1966 and 1976, it includes songs performed by Buffalo Springfield, Crosby, Stills, Nash & Young, and the Stills-Young Band, as well as solo work.

A collection of articles and reviews. Following Neil Young's career, from his emergence in Buffalo Springfield in 1967 through thirty years of surprising and ever-changing Neil Young music. Includes substantial coverage of unreleased tracks.

After the Buffalo Springfield imploded, Neil Young recorded his first, eponymous solo album, an elaborately overdubbed affair that cast him in the role of brooding singer-songwriter. But soon after that record was released, in January 1969, Young began jamming in Los Angeles with a band called the Rockets, redubbed Crazy Horse, and started a relationship that would change guitar rock forever and form the foundation of his career. If Neil Young had an aura of careful subtlety bordering on tentativeness, Everybody Knows This Is Nowhere felt raw, rushed, energized. Indeed, Young dashed off the album’s three central songs — “Cinnamon Girl,” “Down by the River” and “Cowgirl in the Sand” — in a single fever-addled afternoon, and Young and the band play with an almost reckless disregard for prettiness, precision, clarity.

The old conventional wisdom on Neil Young used to be that he alternated between acoustic folk and full-on guitar skronk with every other album, but 2010’s Le Noise – the French affection in its title a tongue-in-cheek tip of the beret to his producer Daniel Lanois – melds the two extremes…

"Le Noise" is the thirty-first studio album by Canadian musician Neil Young. The album was recorded in Los Angeles and produced by Daniel Lanois. "Le Noise" received generally positive reviews with Uncut magazine proclaiming it as the second best album of 2010 in its year-end Top 50 Albums list. This album was number 20 on Rolling Stone's list of the 30 Best Albums of 2010.

Re·ac·tor is the eleventh studio album by Canadian musician Neil Young, and his fourth with Crazy Horse, released in 1981. The album combined the electric guitar-focused approach that Young took in his late 1970s records with Crazy Horse sound with early 1980s new wave rhythms. It was unavailable on compact disc until it was released as a HDCD-encoded remastered version in 2003 as part of the Neil Young Archives Digital Masterpiece Series.

When Neil Young entered Shangri La Studio with the band Promise Of The Real a few months ago, there were a lot of images and feelings careening around his soul. The country was heading in a direction Young had never seen, even though up until then he thought he'd seen it all. But something different was happening, and it had gotten inside his music. "I'm a Canadian by the way and I love the USA," he sings on the first song "Already Great."

Neil Young's first two collaborations with Promise of the Real, the band led by Willie Nelson's son Lukas Nelson, sounded sorta like tethered Crazy Horse albums. But without the free-fall unpredictability of Young's most reliable backing group of the past five decades, 2015's The Monsanto Years and the following year's embellished live record, Earth, came off like more structured attempts to capture Young at his most unhinged and plugged in. Their third record, The Visitor, is more of the same, and like The Monsanto Years and last year's Peace Trail, it's a political one, charged through a filter of recent news.